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■IBHBL. 


SEARS,  ROEBUCK  AND  COMPANY,  CHICAGO 


The  Reed  Organ 


Hang  This  in  the  Back  of  Your  Organ  Where  Yoa  Can  Always  Find  It 


THE  REED  ORGAN, 

HOW  TO  GIVE  IT  THE  PROPER  CARE 

Simple  Complaints  and 
Easy  Remedies 

With  Full  Explanation  of  the  Valae  of  the 
Stops,  and  Directions  for  Their  Proper  Use 

In  case  yoa  should  have  any  trouble  of  any 
natare  with  your  organ,  refer  to  this  book  before 
writing  to  us.  Remember  that  ALL  organs  of 
every  make  are  made  of  materials  which  must 
obey  natural  laws,  and  any  organ  exposed  to 
moisture  or  dirt  may  give  cause  for   complaint. 


SEARS,   ROEBUCK  AND  CO.,   CHICAGO 

Copyright  1910,  by  Sears,  Roebuck  and  Co. 


F426T.4.10.31.13.3 


THE  REED  ORGAN 


IN  point  of  mechanical  construction  the  Reed  Organ  is  of  a  very  simple  character,  and  so 
perfect  is  the  material,  workmanship  and  construction  in  the  Beckwith,  that  if  it  receives 
fair  treatment  at  the  hands  of  the  owner  it  will  remain  perfect  in  action  and  musical 

quality  during  the  entire  life  of  the  guarantee  and  even  longer.  If,  however,  it  is  neg 
lected,  if  it  is  allowed  to  absorb  dampness  and  dust,  or  should  it  become  the  home  of  moths 
or  mice,  it  will  in  time  become  unfit  for  use. 

Should  the  organ  become  disabled  on  account  of  any  of  the  above  mentioned  causes, 
it  would  be  manifestly  unfair  to  expect  the  manufacturer  to  make  good  any  repairs  made 
necessary  through  such  mistreatment,  under  the  provisions  Of  his  guarantee,  and  no  manu- 
facturer would  agree  to  do  so. 

The  Beckwith  Organ  represents  skilled  workmanship  of  the  highest  character,  and  the 
very  best  material  that  can  be  obtained  is  used  in  its  making.  "The  Beckwith  Organ  Com- 
pany's factory  is  the  best,  finest  equipped,  and  largest  exclusive  organ  factory  in  the  world, 
and  while  every  possible  precaution  and  care  is  taken,  it  will  sometimes  happen  that  some 
part  of  the  organ  may  not  act  with  the  same  promptness  that  it  should.  This  is  especially 
true  when  it  is  first  unloaded  from  the  car.  A  key  may  stick,  a  note  may  sound  after  the 
key  has  been  pressed  and  released.  ,  It  may  produce  an  unpleasant,  jarring  sound,  or  it  may 
not  sound  at  all,  or  other  seeming  defect  may  manifest  itself,  which  is  not  a  defect 
in  any  sense  of  the  word,  but  which  if  only  understood  could  be  readily  adjusted.  Any 
organ,  no  matter  what  the  name  or  make,  will  show  the  same  results  under  the  same  con- 
ditions, and  should  you  buy  an  organ  from  us,  or  from  anyone  else,  and  have  any  com- 
plaint of  any  nature  to  make,  first  turn  to  the  pages  in  this  book,  where  you  will  find  all 
possible  complaints  very  carefully  explained,  as  well  as  an  easy  and  simple  remedy. 

Remember  that  all  Reed  Organs  are  made  largely  of  wood.  It  is  well  to  bear  in  mind 
the  fact  that  moisture  is  one  of  the  chief  enemies  of  an  organ,  and  that  it  is  the  tendency 
of  all  wood,  and  especially  of  well  seasoned  wood,  to  swell  in  damp  weather,  and  to  shrink 
in  dry  weather,  when  the  moisture  has  entirely  evaporated. 

Practically  all  the  trouble  that  can  possibly  come  to  an  organ  can  be  directly  traced  to 
dirt  or  dampness.  These  are  natural  conditions,  against  which  the  manufacturer  is  power- 
less, and  the  manufacturer's  guarantee  against  defect  is  not  a  guarantee  that  the  material  in 
an  organ  will  not  obey  ordinary  natural  laws.  It  would  be  unfair  to  expect  the  guarantee 
to  mean  that  the  metal  parts,  would  not  rust  when  exposed  to  moisture,  and  that  the  thor- 
oughly kiln  dried  wood  from  which  it  is  made  would  not  swell  when  exposed  in  the  same 
way.  No  organ  maker  can  prevent  the  metal  parts  of  an  organ  from  rusting  when  ex- 
posed to  moisture,  or  the  kiln  dried  wood  from  swelling  under  certain  conditions,  jlist  as  it 
will  shrink  in  dry  weather,  and  nothing  on  earth  can  prevent  it.  It  is  just  as  reasonable 
to  expect  water  to  run  up  hill  as  to  expect  that  the  wood  and  metal  in  an  organ  will  not 
show  the  natural  results  of  natural  causes. 

No  doubt  you  have  noticed  that  in  damp  weather  the  doors  in  your  house  will  stick, 
the  windows  will  stick,  the  drawers  in  the  tables  and  bureaus  will  swell  up  to  such  an  ex- 

We    are    not    responsible    for    any    bills    for    repairs    not   authorized   by   us    in   writing. 


oloo 

•3-t 

tent  that  it  is  almost  impossible  to  open  them.  Do  you  blame  this  to  defect  in  material  or 
workmanship?  No.  You  realize  that  it  results  from  the  tendency  of  all  matter  to  show  the 
result  of  natural  causes.  From  experience  you  know  that  when  the  atmosphere  is  free  from 
moisture  all  these  matters  will  adjust  themselves,  and  by  the  natural  orocess  of  evapo- 
ration the  parts  will  return  to  their  normal  condition. 

Through  a  mistaken  idea,  some  have  been  led  to  believe  that  an  organ,  for  some  reason, 
will  not  respond  to  these  natural  conditions.  It  is  an  unfortunate  fact  that  some  irre- 
sponsible dealers  or  agents  will  state  that  these  conditions  will  never  arise  in  an  organ  that 
they  offer  for  sale,  but  if  the  matter  was  only  given  some  consideration,  this  claim,  on  the 
face  of  it,  would  show  that  it  was  absurd,  and  anyone,  be  he  agent  or  manufacturer,  who 
claims  that  his  particular  organ,  or  the  one  he  offers  for  sale,  will  not  show  these  natural 
results,  is  not  to  be  trusted. 

If  moisture  has  such  an  effect  on  ordinary  doors  and  windows,  it  must  be  expected 
that  the  same  effect  should  show  in  the  mechanism  of  an  organ. 

When  moisture  settles  on  metal  it  causes  rust,  and  when  it  is  absorbed  by  kiln  dried 
wood  it  causes  it  to  swell.  If  any  part  of  your  organ  action  swells  it  means  that  that  part 
of  the  action  will  stick,  and  if  it  does  stick  it  means  that  your  organ  has  been  exposed  to 
moisture.  The  very  nature  of  your  complaint  would  prove  it,  and  your  complaint  is  no 
more  than  what  is  to  be  expected.  It  would  be  an  injustice  to  the  manufacturer  and  to  us, 
to  look  for  impossibilities  in  an  organ,  especially  when  exposed  in  this  manner,  and  to 
expect  anything  else  but  natural  results  to  arise  from  natural  causes, 

DIRT  AND  DAMPNESS. 

As  already  stated,  practically  all 
the  trouble  that  can  possibly  arise  can 
be  directly  traced  to  dirt  or  dampness. 

Dirt  in  an  organ  will  sometimes 
cause  a  reed  to  become  silent,  or  it 
might  cause  it  to  give  out  an  unpleas- 
ant jarring  sound.  This  is  more  hkely 
to  occur  when  the  shipment  is  first  un- 
packed. During  its  transportation  it 
is  an  easy  matter  for  a  small  particle  of 
dust  or  some  other  foreign  substance 
to  become  lodged  in  a  reed.  This 
prevents  the  tongue  from  vibrating 
freely.  Sometimes  a  key  will  stick  or 
will  remain  down  after  you  press  it. 
Perhaps  a  tracker  pin  swells  up,  and 
the  owner  of  the  organ  might  jump  to 
the  conclusion  that  the  manufacturer 
had  slighted  the  organ  in  its  making,  or 
had  not  given  sufficient  care  to  its  con- 
struction, when,  in  point  of  fact,  the 
result  is  due  entirely  to  natural  causes 
and  beyond  any  manufacturer's  power 
to  prevent.  If  you  were  to  buy  a  reed 
organ  for  $1,000.00  and  expose  it  to  ex- 
actly the  same  conditions  you  would 


READ  THIS 


It  Was  No  Trouble  at  All  to  Remove  the 

Complaint  by  Following  Direction* 

in  the  Book. 

Box  66,  Loomis,  Michigan. 
Sears,  Roebuck  and  Co.,  Chicago,  111. 

Dear  Sirs: — I  received  your  letter  and  in  accord- 
ance with  your  advice  I  followed  directions  in  the 
Reed  Organ  Book  you  sent  me  and  found  out  what 
the  trouble  was  with  my  organ.  I  immediately  and 
permanently  removed  the  difficulty  without  any  tools 
whatever  and  I  want  to  write  you  to  tell  you  how 
easily  the  trouble  was  removed  and  how  much  I 
thank  you  foe  your  advice.  I  now  know  more  than 
I  ever  did  before  about  organs. 

I  have  read  the  Reed  Organ  Book  carefully  and 
feel  that  I  have  perfect  confidence  in  myself,  not.only 
to  give  my  organ  more  intelligent  care,  but  to  correct 
any  slight  derangement  caused  by  dirt  and  dampness 
which  I  have  found  by  careful  inquiry  is  common 
to  all  organs  of  all  makes. 

I  again  thank  you  for  your  kindness. 
Yours  truly, 

MILLIE  POLMATIER 


We    are    not    responsible    for    any    bills    for    repairs    not    authorized    by    us    in    writing. 

2 


have  exactly  the  same  result.     This  is  not  an  evidence  of  any  defect  in  material  or  work- 
manship, but  is  due  to  dampness  or  dirt  and  nothing  else. 

A  little  assistance  on  the  part  of  the  owner  of  an  organ,  with  the  directions  given  in  the 
following  pages  before  him,  will  enable  him  to  immediately  and  permanently  overcome 
all  the  trouble,  and  he  will  never  be  compelled,  with  these  complete  directions  in  his  pos- 
session, to  depend  on  any  organ  repair  man.  Not  only  will  he  be  able  to  keep  his  organ 
in  first  class  condition  and  overcome  any  slight  derangement,  but  he  will  have  a  much  bet- 
ter idea  of  the  workings  of  an  organ  and  its  mechanical  parts  than  otherwise  would  be 
possible,  and  will, therefore  be  in  a  position  to  give  it  more  intelligent  care.  We  know 
that  if  these  directions  are  carefully  followed,  if  the  inner  workings  of  the  Beckwith  Organ 
are  fully  examined,  you  will  be  convinced  of  the  high  grade  of  workmanship  used  in  its 
construction,  because  quality  and  workmanship  are  shown  in  every  part  of  the  instrument 
as  well  as  in  its  outside  appearance. 

People  have  been  led  to  believe  that  there  is  something  mysterious  about  an  organ. 
If  your  sewing  machine  does  not  work  right,  do  you  call  in  a  repair  man?  No.  You 
tighten  up  the  parts,  perhaps,  here  and  there,  and  as  a  result  it  works  as  well  as  ever.  Why 
do  you  do  the  work  yourself?  Merely  because  you  know  about  the  workings  of  a  sewing 
machine,  and  you  know  that  it  would  be  a  useless  expense  to  call  in  a  repair  man  when  you 
can  do  it  yourself.  If  this  is  true  in  a  sewing  machine,  it  is  certainly  true  in  an  organ,  es- 
pecially when  the  work  to  be  done  is  of  such  a  trifling  nature,  and  also  when  you  know 
that  you  hold  our  guarantee,  that  you  hold  our  personal  pledge,  that  by  so  doing  you  can- 
not hurt  the  instrument  in  any  way. 

With  this  introduction,  we  ask  you,  even  though  you  have  no  complaint  to  make  at  this 
time,  that  you  carefully  read  every  word  of  the  following  pages  so  as  to  obtain  some  idea 
of  the  small  amount  of  work  necessary  to  be  done  to  overcome  what  might  appear  to  be  a 
serious  complaint.  Keep  these  directions  always  in  the  back  of  the  organ.  Place  a  tack 
inside  of  the  organ  and  hang  them  near  the  reed  hook,  so  that  you  will  always  know 
where  they  are.  The  chances  are  that  you  may  never  have  occasion  to.  refer  to  them,  but 
if  you  do  have  any  complaint  of  any  nature  to  make,  then  save  the  valuable  time  necessary 
to  write  to  us;  don't  be  without  the  use  of  your  organ  all  of  this  time,  but  immediately  fol- 
low these  directions,  and  if  you  cannot  overcome  the  difficulty,  it  will  then  be  time  enough 
to  write  us,  and  we  promise  to  take  the  matter  up  with,  you  in  our  usual  liberal  spirit 
under  the  provisions  of  our  guarantee. 


THE  CARE  OF  AN  ORGAN 


COMMON  ORGAN  COMPLAINTS  AND  SIMPLE  HOME  REMEDIES. 

Following  we  very  carefully  explain  practically  every  complaint  that  can  possibly  arise 
regarding  your  organ.  You  must  not  forget  that  organs  are  constructed  almost  entirely 
of  wood  and  therefore  are  bound  to  feel  the  effect  of  moisture  and  excessive  dryness. 

Before  following  instructions  given  here,  be  sure  to  read  all  about  reed  organs  as  shown 
on  pages  1  to  3  inclusive.     It  will  pay  you. 

OUR  GUARANTEE. 

Remember,  we  guarantee  if  you  will  follow   the    directions    that    you    cannot    possibly 
he   ' -reran.      Do  not   he   afraid   to  follow  these  suggestions,  nor  hesitate  through  a  mis- 
taken idea  of  tin-  amount  of  work  involved,  because  it  requires  very  little  effort  on  your  part 

V'r-    are    not    resDonsible    for    any    bills    for    repairs    not    authorized    by    us    in    writing. 

3 


and  absolutely  no  risk.     It  will  not  take  you  over  ten  or  fifteen  minutes'  time  to  remove 
any  one  of  the  following  complaints : 

1.  SOMETIMES  A  NOTE  WILL  NOT  SOUND.  This  interferes  greatly  with  the 
playing  of  the  organ,  but  the  remedy  is  simple.  Some  foreign  substance,  such  as  a  little 
dirt,  has  lodged  between  the  tongue  of  the  reed  and  the  reed  block,  which  prevents  it  from 
vibrating,  thus  causing  it  to  be  silent. 

THE  REMEDY. 

The  reed  should  be  removed,  when  it  can  be  examined  closely.  If  you  will  draw  the 
reed  as  explained  below,  and  strike  the  side  of  the  reed  block  with  the  reed  hook,  being 
careful  not  to  touch  the  tongue  of  the  reed,  you  will  dislodge  the  foreign  substance,  what- 
ever it  may  be,  and  the  reed  will  sound  as  it  should.  Sometimes,  however,  the  vibrating 
of  the  reed  in  time  causes  it  to  crack.  This  happens  with  the  best  of  reeds,  and  does  not 
indicate  inferiority  of  material.  In  that  event  the  broken  reed  should  be  sent  to  us,  together 
with  another  from  the  same  set,  one  octave  above  or  one  octave  below  the  one  that  is 
broken,  by  which  we  will  tune  the  reed  to  be  replaced  in  perfect  harmony.  If  the  reed  is 
in  the  front  set,  take  off  the  key  slip,  the  strip  of  wood  immediately  in  front  of  and  below 
the  keys,  when  it  can  easily  be  reached.  If  the  reed  is  in  the  back  set  remove  the  back  of 
the  organ.  Pull  out  all  of  the  stops  and  this  will  expose  the  ends  of  the  reeds.  Inside  the 
back  of  the  organ  you  will  find  the  reed  hook,  fastened  securely.  Use  this  hook  for  pull- 
ing out  the  reed,  by  placing  the  end  of  the  hook  in  the  slot  found  in  the  end  of  the  reed 
block,  using  care  not  to  put  the  point  of  the  reed  hook  farther  in  than  the  little  slot  across 
the  end  of  the  reed.  If  you  should  call  in  a  repair  man  to  remove  your  complaint,  he  would 
do  no  more  than  what  we  have  directed  you  to  do  (and  our  directions  are  simple  enough 
to  be  followed  by  a  child),  but  he  would  naturally  be  compelled  to  charge  you  for  his  time. 

2.  SOMETIMES  A  REED  MAKES  AN  UNPLEASANT  JARRING  SOUND,  which  is 
in  nearly  every  case  caused  by  foreign  substances  in  the  reeds,  which  can  be  removed  as 
stated  in  paragraph  1,  or  perhaps  something  rests  on  the  sounding  board  which  causes  the 
rattle. 

THE  REMEDY. 

Take  off  the  back  of  the  organ,  and  look  at  the  sounding  board.  It  will  occur  oc- 
casionally that  the  swell- rod  becomes  disconnected  and  rests  on  the  sounding  board,  which 
would  cause  the  trouble.  If  you  find  that  the  swell  rod  is  not  disconnected,  then  tighten  up 
any  and  all  screws  that  you  may  find  which  hold  the  sounding  board  down  on  the  founda- 
tion board.  If  this  does  not  overcome  the  difficulty,  then  remove  the  reed  as  explained  in 
paragraph  1,  and  if  there  is  nothing  wrong  with  it,  then  see  whether  or  not  the  reed  fits 
tightly  in  the  reed  cell.  Sometimes  the  wood  of  the  reed  cell  shrinks  a  little,  and  this 
might  possibly  cause  the  rattle.  Draw  the  reed  as  before  explained,  take  beeswax  or  com- 
mon laundry  soap  (beeswax  preferred)  rub  it  on  the  edges  of  the  reed  block  and  put  it  back. 
This  will  make  the  reed  stick  fast  in  the  reed  cell,  and  will  stop  the  rattle. 

3.  SOMETIMES  A  REED  WILL  SOUND  CONTINUALLY  and  still  the  key  itself 
may  be  level  with  the  balance  of  the  keyboard.  This  is  caused  from  dirt  having  lodged  in 
the  valve,  thus  preventing  it  from  seating  properly,  which  would  allow  the  air  to  rush  into 
the  bellows  and  produce  a  sound  by  passing  through  the  reed. 

THE  REMEDY. 

Many  times  this  can  be  overcome  in  a  very  simple  way  as  follows :  Pump  the  bellows 
to  their  fullest  capacity,  open  all  the  stops  and  then  strike  the  key  affected,  with  at  least 
one  key  on  each  side,  a  number  of  quick  blows,  striking  them  all  together.  By  doing  so 
you  allow  the  air  to  forcibly  rush  in  the  bellows,  and  this  almost  invariably  draws  the  dirt 
out  of  the  valve.     If  this  does  not  remove  the  trouble,  then  tip  the  organ  forward  as  far  as 

We    are    not    responsible    for    any    bills    for    repairs    not    authorized    by    us    in    writing. 


possible,  first  taking  off  the  top  of  the  organ,  if  any,  pump  the  organ  hard  and  strike  the 
keys  exactly  as  explained  on  page  4,  at  the  same  time  take  a  hammer  or  any  blunt  instrument 
and  strike  under  the  organ  up  against  the  foundation  board,  directly  under  the  affected 
reed  several  quick,  successive  blows,  which  will  have  a  tendency  to  dislodge  the  dirt,  and  the 
suction  at  the  same  time  will  draw  it  out.  If  this  does  not  overcome  the  trouble,  then 
draw  the  affected  reed  (always  the  lower  set  in  case  there  is  more  than  one)  ;  now  take  a 

thin  piece  of  wire,  bend  it  at  an  angle  at  the  end  thus  | ,  insert  this  wire  along  th< 

sides  of  the  slot  and  you  can  tell  to  which  side  the  valve  is  displaced,  and  work  your  wire 
accordingly.  With  this  method  you  are  also  close  to  the  seat  of  operation  and  there  is 
little  danger,  if  you  are  careful,  of  throwing  the  valve  off  entirely.  If  you  find  that  these 
directions  do  not  overcome  the  complaint,  then  we  suggest  that  you  get  at  the  valve  itself, 
which  you  can  do  in  a  simple  manner  by  referring  to  paragraph  14  in  this  book. 

4.  SOMETIMES  A  KEY  DROPS  DOWN  LOWER  THAN  THE  OTHERS  and 
allows  the  reed  to  sing  continually.  This  is  either  caused  by  the  swelling  of  the  tracker 
pin,  thus  preventing  it  from  moving  freely  in  its  socket,  or  the  key  may  have  absorbed 
moisture  and  has  swelled  to  such  an  extent  that  it  binds  on  the  guide  pin,  or  else  the  key 
has  received  a  severe  blow,  such  as  a  book  falling,  from  the  top  of  the  organ  on  to  it,  which 
has  caused  the  valve  of  the  organ  to  jump  down  far  enough  to  catch  on  the  ends  of  the 
valve  pins.     This  latter,  however,  is  something  that  very  rarely  occurs. 

THE  REMEDY. 

Please  refer  to  Figure  1,  in  which  the  guide  pin  is  shown  by  the  letter  "G."    This  pin 

goes  into  the  lower  part  of  the  key,  preventing  it  from  moving  sideways.     If  you  will 


AA — Feeder   Valves. 

BB— Pedal  Straps. 

C — Stop  Connections. 

DD— Swell  Rods. 

E — Coupler  Wires. 

F— Tracker  Pin. 

G — Guide  Pins. 

HH — Foundation   Board. 

I — Escape  or   Excess   Pressure 
Valves. 


Fig.  1 


grasp  the  front  of  the  key  firmly,  working  it  sideways  and  up  and  down,  this  will  serve  to 
enlarge  the  opening  and  allow  freedom  of  motion.  If  after  you  do  this  the  key  still  stays 
down,  the  difficulty  is  in  the  tracker  pin.  The  tracker  pin  is  shown  by  the  letter  "F."  If  it 
is  the  tracker  pin,  have  some  one  hold  down  the  key  that  is  affected,  then  go  around  to  the 
back  of  the  organ  when  you  can  easily  locate  this  key,  push  this  key  upward  from  the 
back  of  the  organ,  then  take  some  narrow  flat  instrument,  put  it  on  top  of  the  tracker  pin 
and  push  it  up  and  down ;  if  it  comes  up  of  its  own  accord  after  being  forced  down,  this  is 
evidence  that  it  is  free.  When  the  tracker  pin  that  is  affected  has  a  collar  on  it,  you  can 
apply  the  pressure  on  top  of  the  collar,  which  is  much  easier  than  forcing  up  the  key  and 
getting  the  pressure  from,  the  end  of  the  tracker  pin. 

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If  this  pin  does  not  move  freely  in  its  socket,  but  stays  down,  you  know  that  it  has  ab- 
sorbed moisture  and  has  swelled  up.  If  you  sandpaper  it  lightly,  thus  reducing  its  size, 
you  will  remove  the  trouble.  If,  however,  it  moves  freely  in  its  socket,  and  does  not  line 
up  with  the  others,  then  you  know  that  the  trouble  is  in  the  valve.  In  that  event  refer  to 
paragraph  3,  and  follow  directions  given  for  using  the  bent  wire  fully  explained  therein. 
If  the  trouble  is  in  the  valve,  by  proceeding  as  above  you  will  remove  the  complaint;  but 
as  a  matter  of  further  information  we  desire  you  to  learn  just  what  a 
valve  pin  is,  as  it  might  be  the  cause  of  the  trouble.  Please  refer  to 
Figure  2.  This  shows  the  end  of  the  valve  (A)  as  well  as  the  valve  pin 
Fig.  2  (B)  which  holds  it  in  place.    If  this  valve  is  pushed  down  far  enough 

to  pass  the  end  of  the  valve  pin  which  holds  it  in  place,  it  would  naturally  permit  the  air 
to  rush  through  it,  as  it  would  be  held  open.     It  is  a  very  simple  matter  to  adjust  such  a 

complaint  if  you  will  follow  the  suggestion  as  given  in  paragraph  3. 

5.  SOMETIMES  NOTES  MAY  SOUND  when  the  organ  is  pumped  and  the  keys  are 

pressed  without  any  stops  being  drawn.  This  would  indicate  that  the  mutes  which  control 
the  various  sets  and  which  are  in  turn  operated  by  the  stops,  do  not  fit  tightly  over  the 
opening  to  the  reed  cells. 

THE  REMEDY. 

First,  ascertain  which  mute  it  is  that  is  giving  the  trouble  by  pumping  the  organ, 
finger  the  keys,  then  after  the  key  slip  has  been  removed  and  the  back  let  down  press  down 
each  mute,  one  at  a  time,  with  your  fingers;  you  will  know  when  you  find  the  one  that  is 
giving  you  the  trouble  because  the  sound  should  instantly  cease  when  you  press  down  the 
mutes.  Ordinarily,  the  cause  of  the  mute  not  coming  down  is  that  the  wire  that  is  con- 
nected to  the  end  of  the  connecting  stick,  which  in  turn  is  fastened  to  the  mute,  has  been 
bent  and  is  not  allowed  sufficient  motion  for  the  mute  to  come  down  tight.  If  this  is  the 
trouble,  you -will  know  it  immediately  when  you  unhook  this  connecting  stick  from  the 
wire.  If  after  this  has  been  done  the  mute  comes  down  tight,  just  bend  the  wire  toward 
the  direction  in  which  the  mute  is  fixed ;  this  will  allow  the  mute  free  action  and  overcome 
the  difficulty. 

6.  SOMETIMES  ALL  THE  KEYS  OF  YOUR  ORGAN  DROP  DOWN;  that  is  to 
say,  if  they  lay  flat  down  and  do  not  stay  up  into  place  when  you  lift  them  with  your 
hand,  then  this  arises  from  one  of  two  reasons,  one  of  which  is  a  simple  complaint,  and  the 
other  is  of  a  more  serious  nature. 

THE  REMEDY. 

Examine  the  piece  screwed  on  the  back  of  the  frame  at  the  end  of  the  keys,  inside  the 
organ,  called  the  key  binder,  and  if  it  is  loose,  by  tightening  the  screws  you  can  place  it 
where  it  belongs  and  overcome  the  trouble  at  once.  If  the  key  binder  is  in  place,  then  it 
is  a  serious  matter  and  will  need  your  immediate  attention.  This  would  indicate  that  the 
spring  rail  to  which  the  valve  springs  are  fastened  has  become  unglued  through  the  effect 
of  excessive  moisture.  In  order  to  be  sure  about  this,  pull  out  all  of  the  stops,  and  pump 
the  organ  without  placing  your  hands  on  the  keys.  Pump  hard,  and  advise  us  whether  or 
not  the  organ  makes  a  sound.  If  it  makes  no  sound  you  may  rest  assured  that  the  trouble 
is  in  the  key  binder  having  become  loose.  If  you  find  the  key  binder  in  place  then  be  sure 
to  make  a 'thorough  examination  and  report  to  us  in  detail,  and  await  our  further  advices 
before  taking  any  steps  in  the  matter. 

7.  SOMETIMES  THERE  IS  A  ROARING  SOUND  WHEN  YOU  PUMP.  If  so, 
you  may  know  at  once  that  your  organ  has  been  exposed  to  undue  moisture,  as  your 
trouble  is  caused  by  the  wood  in  the  bellows  swelling  up  and  tightening  the  feeder  valves. 
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6 


THE  REMEDY. 

The  material  in  your  organ  is  only  obeying  natural  laws.  The  wood  in  the  bellows 
has  been  exposed  to  undue  moisture  and  has  consequently  swelled.  When  it  swells  it 
naturally  must  stretch  the  valve  cloth,  causing  the  valves  to  be  tighter  than  the  manufacturer 
had  them  when  the  organ  left  the  factory.  If  you  pump  the  bellows  the  rushing  air  passes 
these  valves  and  if  very  tight  will  cause  them  to  vibrate  to  such  an  extent  as  to  give  out  a 
sound.  The  bellows  in  organs,  as  ordinarily  placed  in  houses,  are  next  to  the  floor,  which 
frequently  is  damp  and  continues  damp;  at  any  rate  it  is  seldom  that  the  atmospheric  con- 
ditions get  so  dry  as  to  again  thoroughly  evaporate  all  the  moisture  that  they  have  ab- 
sorbed unless  the  room  is  kept  well  heated.  If  you  will  refer  to  Figure  1,  page  5,  and  to 
the  valves  which  are  on  the  feeders,  which  are  indicated  by  the  letters  "AA,"  this  will  aid 
you  in  overcoming  the  trouble.  Remove  the  front  panel  of  your  organ,  immediately  over 
the  pedals,  and  you  will  have  easy  access  to  these  valves.  You  can  pump  the  organ  by 
hand ;  if  the  valves  are  too  tight  they  will  make  a  "wolfing"  sound  when  you  work  the 
pedals  (here  also  be  sure  that  the  little  valve  between  the  two  feeders  opens  when  you  have 
pumped  the  organ  hard  so  as  to  entirely  exhaust  the  reservoir).  If  they  do,  place  your 
finger  under  them  and  stretch  them  slightly.  If  these  outside  valves  are  not  too  tight,  then 
the  trouble  is  in  the  inner  valve.  You  can  see  the  inner  valve  if  you  lift  up  one  of  the  out- 
side valves  indicated  by  the  letter  "A"  in  Figure  1,  page  5,  aforesaid.  Reach  in  with  your 
finger  and  slightly  stretch  the  inner  valve,  and  the  trouble  will  be  entirely  and  immedi- 
ately overcome. 

8.     SOMETIMES  THE  BELLOWS  SEEMS  TO  LEAK.    This  trouble  may  be  caused 
by  several  different  things.    In  the  first  place,  ordinary  wear  and  tear  in  an  organ  which  re- 
ceives the  very  best  attention  and  care  naturally  will  wear  through  little  pin  holes  in  time, 
which  will  cause  the  trouble. 
THE  REMEDY. 

You  can  ascertain  if  this  is  the  cause  of  your  complaint  by  taking  off  the  back  of  your 
organ,  running  your  hand  around  each  end  of  the  bellows,  feeling  for  a  little  hole  or  tear  in 
the  cloth.  By  tipping  up  the  bottom  of  the  instrument  you  can  examine  the  bottom  of  the 
bellows  without  any  trouble.  Should  you  find  any  hole  in  the  cloth,  write  us,  telling  us  how 
large  a  hole  it  is,  and  we  will  send  you  some  special  Rubber  Bellows  Cloth  and  Special 
Cement,  which  you  can  apply  without  any  trouble  whatever.  It  is  just  as  easy  to  fix  a  little 
hole  in  the  bellows  as  to  place  a  postage  stamp  on  a  letter. 

In  case  there  is  no  hole  in  the  bellows,  examine  the  sounding  board  to  see  if  there  is  a 
leak  in  it.  Examine  the  escape  valve  on  the  front  of  the  bellows,  immediately  between  the 
two  feeders,  as  indicated  by  the  letter  "I"  in  Figure  1,  page  5.  It  may  be  that  it  does  not 
close  properly,  and  that  the  spring  which  should  hold  it  in  place  is  twisted.  Examine  this 
point  closely.  Perhaps  this  is  the  trouble.  Also  examine  the  Vox  Humana  mechanism  by 
removing  the  back  of  the  organ.  See  that  the  sheepskin  valve  is  closed  tight  over  the  open- 
ing in  the  fan  wheel  when  the  Vox  Humana  stop  is  pushed  in,  and  that  when  this  stop 
is  drawn,  the  lever  so  uncovers  the  opening  to  the  fan  wheel  as  to  allow  the  air  to  rush  in 
freely,  causing  only  an  even  sound,  such  as  an  ordinary  influx  of  air.  Sometimes  the  pin  that 
holds  the  loose  end  of  this  leather  valve  has  been  bent  so  that  it  does  not  cover  and  uncover 
the  hole  in  the  fan  wheel  properly.  When  closed  it  should  lie  down  tight  and  when  open 
the  pin  should  pass  quite  up  to  the  inner  edge  of  the  hole  in  the  fan  wheel,  turning  the  leather 
valve  up  in  a  loop.  Let  someone  pump  the  organ  while  you  are  at  the  back  of  it,  and  see  if 
you  hear  any  noise  at  this  point.  The  only  place  that  air  can  rush  out  of  the  organ  so  as 
to  be  perceptible  is  around  the  feeder  valves  when  the  organ  is  pumped.    While  the  organ 

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is  being  pumped,  you  no  doubt  will  feel  the  air.  Some  people  write  us  that  they  feel 
the  air  rushing  out  of  the  bellows  when  they  pump  it,  thinking,  therefore,  that  the  organ 
leaks,  when  in  point  of  fact  the  organ  would  not  be  work'ng  properly  if  you  did  not  feel  this 
exhaust.  Remember  that  organs  are  built  on  the  suction  plan  and  not  on  the  blast  principle. 
When  you  pump  the  organ  you  are  pumping  out  the  air,  therefore  you  should  feel  it.  If 
these  suggestions  do  not  locate  a  leak,  then  you  can  determine  whether  or  not  there  is  a  ieak 
by  closing  all  the  stops  except  the  Melodia  stop,  then  pump  the  bellows  to  their  fullest 
capacity,  or  until  the  escape  valve  opens;  when  the  bellows  are  as  full  as  you  can  get  them 
then  push  down  C,  with"  the  Melodia  stop  out,  one  octave  above  middle  C,  and  with 
watch  in  hand  see  how  many  seconds  the  organ  produces  a  sound,  and  report  to  us.  Also 
push  in  all  the  stops,  and  again  pumping  the  bellows  to  their  fullest  capacity,  put  your 
hand  down  flat,  when  the  bellows  are  full,  on  the  highest  seven  or  eight  keys  on  the  right 
hand  side  of  your  organ,  and  advise  us  whether  or  not  you  hear  a  sound.  This  informa- 
tion is  very  important,  and  we  should  be  glad  to  have  you  give  it  to  us  in  detail,  in  case 
you  do  not  overcome  the  trouble  yourself. 

9.  SOMETIMES  AN  ORGAN  WILL  PUMP  HARD.  Thii  is  a  very  simple  com- 
plaint  and  can  easily  be  remedied. 

THE  REMEDY. 

As  the  trouble  is  entirely  due  to  the  fact  that  the  feeder  or  pedal  valves  are  too  tight, 
thus  preventing  an  easy  pumping  of  the  bellows,  you  can  readily  remedy  this  as  sug 
gested  in  paragraph  7. 

10.  SOMETIMES  THE  COUPLERS  MAY  NOT  ACT  JUST  AS  THEY  SHOULD. 
Sometimes  when  you  pull  out  a  coupler  it  might  raise  one  or  two  keys  above  the  rest,  or 
when  the  coupler  is  not  pulled  out  a  key  may  appear  to  be  locked,  that  is  to  say  you  cannot 
press  it  down.  This  is  not  at  all  serious  and  really  is  a  very  simple  complaint  that  may 
happen  to  any  organ.  There  is  only  one  make  of  coupler  action  used  in  any  organ — the 
Hammond  Coupler.  This  is  the  coupler  action  used  in  the  Beckwith.  Therefore,  any  com- 
plaint which  you  may  have  with  the  coupler  of  the  Beckwith  is  liable  to  happen  in  the 
coupler  of  any  organ  of  any  other  make. 

THE  REMEDY. 

You  can  locate  the  coupler  action  by  removing  the  key  slip,  which  is  the  strip  of  wood 
immediately  in  front  of  and  below  the  keys.  This  will  expose  the  entire  coupler  action  to 
view,  and  will  permit  you  to  examine  the  wires.  If  you  find  that  the  wire  which  is  sup- 
posed to  rest  on  the  collar  of  the  tracker  pin  has  by  some  means  slipped  under  the  collar, 
reach  in  from  the  back  of  the  organ,  lift  the  tracker  pin  affected  as  high  as  you  can,  forcing 
the  wire  forward  and  upward  until  it  passes  the  collar.  Then  let  the  tracker  pin  fall  to 
its  natural  position,  and  the  wire  will  then  rest  in  its  proper  place.  If  any  of  the  front  ends 
of  the  coupler  wires  on  which  the  coupler  buttons  work  have  been  turned,  thus  throwing 
the  inside  end  of  the  wire  upward,  they  can  be  replaced  from  the  front  by  forcing  up  the 
key  against  which  it  should  naturally  strike,  thus  throwing  the  wire  back  into  place. 

11.  SOMETIMES  WHEN  THE  PERFORMER  STOPS  PLAYING,  A  KNOCKING 
NOISE  WILL  BE  HEARD  IN  THE  ORGAN.  This  is  a  very  rare  complaint  but  is 
readily  removed. 

THE  REMEDY. 

Open  the  back  of  the  organ  and  you  undoubtedly  will  find  that  one  of  the  bellows 
springs  on  the  outside  of  the  bellows  is  tipped  over  and  rubs  against  the  side  of  the  organ 
case  or  against  the  bellow?  brace.  By  moving  it  into  a  vertical  position  you  will  imme- 
diately  overcome    the    trouble.      This    trouble  is  caused  by  the  bellows  spring  being  jarred 

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8 


or  moved  out  of  place,  either  being  forced  out  of  a  vertical  position  toward  the  side  of  the 
case,  or  inward  toward  the  bellows.  If  it  rests  or  rubs  against  either  the  case  or  the  bel- 
lows brace,  then  very  naturally  as  the  spring  forces  the  bellows  out  to  its  normal  position 
after  the  music  ceases,,  and  as  this  motion  is  very  slow,  it  does  not  drag  the  end  of  the 
spring  across  the  side  of  the  case  or  across  the  brace,  but  jumps  a  fraction  of  an  inch  at  a 
time,  which  produces  the  knocking  sound. 

12.  SOMETIMES  THE  CUSTOMER  COMPLAINS  THAT  THE  RIGHT  KNEE 
SWELL  IS  USELESS  AND  DOES  NOT  WORK  PROPERLY.  To  one  who  ii  not 
familiar  with  organ  construction  and  tries  the  organ  for  the  firtt  time,  the  difference  ap- 
parent between  the  two  knee  swells  is  misunderstood  and  the  customer  assumes  that  there 
is  something  wrong  with  the  right  knee  swell. 

THE  REMEDY. 

In  this  case  undoubtedly  no  remedy  is  needed  except  an  explanation  of  the  function  or 
the  use  of  the  two  knee  swells.  The  left  knee  swell  throws  on  the  Grand  Organ  or  opens 
all  the  stops,  mechanical  and  otherwise,  in  the  organ,  excepting  the  Vox  Humana  and  the 
Sub-Bass  where  the  organ  is  fitted  with  the  Sub-Bass  stop.  It  requires  considerable  pres- 
sure to  force  the  left  knee  swell  open  and  to  hold  it  in  position  because  it  opens  up  every 
mute  in  the  instrument.  The  larger  the  action,  that  is  to  say,  the  more  reeds  and  stops  the 
action  has,  the  greater  the  pressure  required  to  operate  the  Grand  Organ  or  left  knee  swell. 
With  the  right  knee  swell,  however,  the  conditions  are  entirely  different.  The  function  of 
the  right  knee  swell  is  only  to  open  the  Principal  and  Diapason  Forte  Stops  or  the  lids 
over  the  swell  boxes,  and  it  requires  but  a  few  ounces  of  pressure  to  move  it.  If  the 
Diapason  and  Principal  Stops  are  open,  and  you  then  attempt  to  use  the  right  knee  swell, 
it  will  stay  wherever  you  put  it,  simply  because  there  is  nothing  for  it  to  operate  against, 
as  by  drawing  out  the  Principal  and  Diapason  Forte  Stops  you  open  the  swells  which  it 
controls.  To  prove  whether  or  not  the  right  knee  swell  is  working  properly  push  in  all 
the  stops  except  the  Melodia  and  Diapason,  for  instance,  play  a  chord  and  then  push  the 
right  knee  swell  over  and  let  it  come  back  again.  It  should  swell  out  the  tone,  making  it 
louder,  and  as  the  knee  swell  comes  back  into  position,  the  tone  should  be  subdued  again. 
That  is  the  function  of  the  right  knee  swell.  It  might  be  well  to  take  out  the  back  of  your 
organ  and  have  someone  operate  first  the  Grand  Organ  or  left  knee  swell  and  the  right 
knee  swell  or  Swell  Organ,  you  watching  how  this  operates  on  the  action. 

Very  rarely  a  little  moisture  will  settle  in  the  block  through  which  the  swell  rod  (D) 
runs  (Fig.  1,  page  5.)  If,  when  the  swell  rod  is  pushed  to  the  right,  this  wire  sticks, 
then  moisture  has  settled  in  the  guide  block,  swelling  it  and  binding  on  the  wire.  It 
you  will  remove  the  key  slip  you  will  have  access  to  this  block,  and  with  the  use  of  an 
ordinary  kitchen  knife  you  can  reach  down  and  loosen  the  screws  that  hold  it,  thus  giv- 
ing the  rod  more  room,  and  this  will  overcome  any  complaint  of  the  sticking  of  the  swell 
rod. 

13.  SOMETIMES  THE  KEYS  OF  AN  ORGAN  TURN  PINK  OR  BLUE.  This  is 
a  common  complaint  and  is  fully  explained  herewith,  together  with  a  simple  means  of 
removing  the  trouble. 

THE  REMEDY. 

There  are  no  organs  made,  except  pipe  organs,  which  are  fitted  with  ivory  keys.  The 
keys  are  all  composition  and  this  is  true  of  all  organs  of  all  makes,  and  in  all  organs,  no 
matter  what  the  name  or  make,  the  keys  under  certain  conditions  are  liable  to  show  a  dis- 
coloration, either  of  a  blue,  red  or  pink  shade.  Sometimes,  but  very  rarely,  they  become 
yellow  also.     This  complaint  is  not  one  that  is  made  of  the  Beckwith  alone  but  is  common 

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to  all  reed  organs  of  all  makes  where  the  keys  come  into  indirect  contact  with  the  pecu- 
liar chemical  properties  of  aniline  dye. 

At  the  present  time  practically  all  fabrics,  silk  as  well  as  all  other  cloth,  are  colored 
with  dyes  that  have  aniline  as  their  basis,  and  the  peculiar  chemical  properties  of  the  aniline 
are  communicated  to  the  keys  of  an  organ  in  an  indirect  way.  Sometimes  the  performer's 
hands  are  moist  and  the  chemical  properties  are  communicated  from  articles  dyed  with 
aniline  dye  as  a  basis  through  the  medium  of  the  perspiration  on  the  hands,  and  are  carried 
to  the  keys,  not  the  color  itself,  but  the  chemical  properties  of  the  dye,  which,  when  trans- 
ferred to  the  organ  keys,  will  in  time  produce  one  of  the  shades  of  color  as  stated. 
Another  cause  is  carelessness  on  the  part  of  the  performer  in  not  entirely  rinsing  the  soap 
from  the  hands  after  washing.  All  soap  contains  a  certain  percentage  of  lye  and  this  at 
times  and  under  certain  conditions  will  cause  discoloration  of  the  keys.  Care  used  in  keep- 
ing the  hands  and  fingers  both  free  from  perspiration,  as  well  as  soap,  should  entirely 
remove  any  possibility  of  your  organ  keys  changing  color.  If  they  do,  then  moisten  a  soft 
cloth  with  equal  pirts  of  water  and  alcohol  (do  not,  however,  use  wood  alcohol),  and  dip 
it  into  ordinary  whiting,  such  as  you  use  for  cleaning  silver,  or  powdered  pumice  stone, 
and  rub  the  keys  well,  'using  care  not  to  Use  so  much  alcohol  as  to  let  it  run  down  between 
the  keys.  By  proceeding  thus  you  will  entirely  remove  this  discoloration  which  is  caused 
by  transferring  the  chemical  properties  of  aniline  dye  to  the  keys  through  the  action  of 
perspiration  or  a  soapy  condition  of  the  hands.  If  you  do  not  succeed,  then  send  to  us. 
We  sell  the  Universal  Organ  Key  Cleaner  at  10  cents  a  bottle.  This  is  the  same  identical 
cleaner  that  all  organ   manufacturers  recommend. 

14.  SOMETIMES  FOR  SOME  REASON  IT  IS  NECESSARY  TO  TAKE  OUT  THE 
ACTION  OF  AN  ORGAN.  This  is  the  simplest  way  to  get  at  the  valve  in  case  the  valve 
it  caught  on  the  guide  pin,  or  to  get  at  the  valves  for  any  reason  whatsoever. 

HOW  TO  REMOVE  THE  ACTION. 

First  take  off  the  top  of  the  organ,  if  it  has  a  top.  Then  take  off  the  flat  board  on  top 
of  the  base  by  removing  the  screws  that  hold  it.  Then  take  out  the  fall  board  and  you  will 
be  right  down  to  the  action.  Now  remove  the  back  of  the  organ  and  take  off  the  keyslip 
in  front.  At  the  back  of  the  organ  you  will  find  some  screws  which  go  down  through  the 
sounding  board  into  the  foundation  board  which  is  indicated  by  the  letters  "HH"  in  the 
illustration  (Fig.  1  on  page  5).  Remove  all  the  screws  going  down  through  the  sounding 
board,  working  from  the  back  of  the  organ.  Then  go  around  to  the  front  and  you  will  find 
some  screws  which  go  up  through  the  foundation  board  into  the  sounding  board  from 
beneath  the  keyboard.  Take  these  out  and  the  action  is  ready  to  be  removed.  Now  refer 
again  to  Figure  1,  page  5,  and  you  will  note  the  two  knee  swell  wires  indicated  by  the  letters 
"DD."  If  you  will  take  hold  of  the  front  of  the  action  and  lift  it  up  so  that  these  knee 
swell  wires  are  raised  above  the  foundation  board,  you  can  then  slide  the  action  right  out 
and  can  then  tip  it  up  and  look  at  the  valves.  This  requires  no  mechanical  knowledge.  All 
that  is  necessary  is  that  you  know  how  to  take  out  the  screws.  In  putting  the  action  back 
again  you  cannot  make  a  mistake  because  it  must  be  set  properly  before  the  screws  will  find 
the  old  screw  holes,  so  you  see  there  will  be  no  risk  on  your  part.  In  putting  it  back,  be 
sure  that  the  packing  is  placed  between  the  sounding  board  rim  and  the  foundation  board, 
and  that  the  screws  are  driven  in  as  tight  as  they  will  go. 

15.  SOMETIMES   A   SQUEALING  NOISE  IS  HEARD  WHEN  THE  PEDALS 
ARE  PUMPED.    This  is  unavoidable  at  tjmes,  but  is  not  any  more  serious  than  the  squeak- 
ing  of  a  buggy  wheel  that  needs  oiling.    The  pedal  rollers  need  lubricating ;  that  is  all.     _ 
We    are    not    responsible    for    any    bills    for    repairs    not    authorized    by    us    in    writing. 


THE  REMEDY. 

If  the  noise  sounds  like  a  growl  or  what  is  called  a  "wolfing"  or  roaring  sound,  then  the 
pedal  rollers  are  not  at  fault  but  the  trouble  lies  with  the  feeder  valves,  as  explained  in 
paragraph  7,  but  if  the  noise  is  like  the  squeaking  of  a  hinge  or  buggy  wheel  that  needs 
oiling,  then  the  trouble  is  in  the  pedal  rollers.  Take  off  the  lower  panel  immediately  above 
the  pedals  and  below  the  keyboard  and  the  pedal  rollers  will  be  in  plain  view.  Secure 
about  two  or  three  cents  worth  of  plumbago  at  any  drug  store  and  mix  it  into  a  thick,  stiff 
paste  with  a  few  drops  of  sewing  machine  oil.  Force  this  paste  into  the  opening  in  the 
pedal  rollers,  using  a  common  kitchen  knife  for  the  purpose.  This  will  form  a  perfect 
graphite  lubrication  and  will  coat  the  inside  roller  completely,  which  will  prevent  further 
trouble  on  this  score.  Do  not  use  any  other  lubricant;  oil,  mutton  tallow  or  lard  alone  are 
liable  to  pause  the  rollers  <;o  swell  up,  binding  on  the  bearing  and,  therefore,  they  will  work 
too  hard. 
MOUSE  PROOF  ORGANS. 

No  matter  how  an  organ  is  .built,  without  the  customer's  co-operation  the  organ  is 
not  mouse  proof.  It  is  a  mistaken  idea  to  think  that  mice  damage  an  organ  by  getting  into 
the  instrument  around  the  pedals  or  from  underneath  the  organ.  The  trouble  caused  by 
mice  is  the  result  of  their  getting  into  the  action  where  they  destroy  the  high  grade  leathers 
and  felts  in  the  action  as  well  as  cutting  their  way  through  the  tracker  pins.  If  mice  get 
into  the  lower  part  of  a  Beckwith  organ,  they  cannot  get  into  the  upper  part  of  the  action 
because  they  are  prevented  from  so  doing,  owing  to  the  foundation  board  which  bars  their 
further  progress.  If  organ  owners  would  only  close  their  organs  at  night,  mice  could  not 
enter  the  instrument  so  as  to  damage  it,  because  they  get  into  organs  by  climbing  up  on  to 
the  keys,  and  if  the  organ  is  open  it  is  a  simple  matter  for  them  to  squeeze  in  under  or 
over  the  fall  board  and  then  the  damage  is  done.  Keep  your  organ  closed  at  night  if  mice 
are  in  your  home  and  you  will  effectually  prevent  their  damaging  the  action,  the  only  part 
of  the  instrument  where  damage  can  be  done. 

IT  IS  ABSOLUTELY  IMPOSSIBLE  FOR  YOU  TO  DAMAGE  THE  ORGAN  BY 
FOLLOWING  DIRECTIONS,  and  we  hereby  pledge  ourselves  that  you  will  not  do  so. 
Do  not  write  us  until  you  have  exhausted  every  means  at  your  disposal,  with  these  direc- 
tions before  you,  for  removing  your  complaint;  then  if  you  are  not  successful,  take  the 
matter  up  with  us  and  we  promise,  to  write  you  fully  and  at  once. 

When  writing  us  in  regard  to  any  trouble,  be  sure  to  give  all  the  information  you  can, 
as  that  will  save  a  great  deal  of  correspondence  and,  therefore,  much  time.  Your  organ 
may  give  you  a  little  trouble  whether  it  is  a  Beckwith  or  some  other  well  known  make, 
but  do  not  jump  to  the  conclusion  that  the  organ  is  of  inferior  quality,  because  all  organs 
are  subject  to  changes  of  atmosphere  and  temperature.  All  we  ask  is,  if  you  have  a  com- 
plaint, that  you  follow  these  directions  very  carefully,  and  then  if  you  do  not  overcome  the 
trouble,  write  to  us  at  once  and  in  full. 

It  is  well  to  repeat  here  that  the  complaints  shown  in  this  book  are  those  which  will 
show  from  time  to  time  in  all  organs  made,  regardless  of  name  or  price  asked.  The  reme- 
dies given  are  those  which  would  be  suggested  to  you  by  any  organ  factoiy  or  any  organ 
expert.  If  you  were  to  call  in  an  experienced  repair  man,  he  would  do  no  more  than  is 
shown  in  these  pages. 

It  is  well  to  remember  that  organ  actions  are  made  almost  entirely  of  wood,  and  in  the 
Beckwith  Organs  this  wood  is  the  finest  quality  of  straight  grained,  thoroughly  air  seasoned 
and  honestly  kiln  dried.  It  is  also  true  that  the  drier  wood  is  the  more  easily  it  is  affected 
by  moisture.  A  dry  sponge  will  absorb  moisture  more  quickly  than  a  wet  sponge.  The 
action  in  a  Pipe  Organ  costing  ten  thousand  dollars  or  more,  made  with  the  highest  degree 
of  skill  and  the  choicest  material,  will  show  the  same  conditions  if  exposed  to  moisture,  for 
well  seasoned  wood  will  swell  in  wet  weather  and  shrink  in  dry  weather,  and  no  power  on 
earth  will  prevent  it. 

Keep  your  organ  free  from  the  operation  of  moisture  and  all  extremes  of  temperature, 
and  you   should  have  no  trouble  with  it  at  any  time. 

We    are    not    responsible    for    any    bills    for    repairs    not   authorized    by    us    in    writing. 


FOLLOWING  IS  AN  EXTRACT  TAKEN  FROM  A  CIRCULAR  PUBLISHED  BY 
THE  NATIONAL  PIANO  MANUFACTURERS*  ASSOCIATION  OF  AMERICA. 
THE  ARGUMENTS  ADVANCED  BY  THOSE  MANUFACTURERS  APPLY 
WITH  EQUAL  FORCE  TO  AN  ORGAN,  AND  WE  ASK  YOU  TO  READ  IT 
CAREFULLY: 

"Tne  warrant  against  defective  material  and  workmanship  is  not  a  warrant  against 
inherent  qualities  of  the  materials  which  must  be  used.  No  court  and  no  real  expert  would 
think  of  holding  a  piano  manufacturer  responsible  because  thoroughly  kiln  dried  wood 
swells  in  damp  weather  and  shrinks  again  in  a  furnace  heated  house,  or  because  the  iron, 
and  steel  parts  rust.  The  watch  manufacturer,  when  he  warrants,  a  watch,  does  not  war- 
rant that  the  case  will  not  become  scratched  and  grow  dull  in  the  pocket;  or  that  there 
will  be  no  necessity  of  the  watch  being  cleaned  and  regulated.  A  carriage  manufacturer 
who  makes  and  warrants  first  class  carriages  does  not  make  a  wheel  that  will  not  get  loose 
and  shaky  if  it  is  allowed  to  stand  still  in  a  dry  stable  without  use  and  washing,  for  it 
will  inevitably  obey  the  laws  of  nature,  and  good  .workmanship  and  good  material  cannot 
alter  these  well  known  facts. 

"To  warrant  matter — materials — as  being  free  from  their  destructive  natural  qualities 
would  be  to  grossly  misrepresent,  and  would  be  absurd  on  the  face  of  it,  because  it  would  in- 
volve an  impossibility ;  and  only  an  ignorant  or  dishonest  person  would  warrant  that  the  metal 
parts  shall  not  rust;  that  the  wood  of  the  case  or  action  shall  not  shrink  and  swell  with  the 
varying  conditions  of  dryness  and  humidity  of  the  atmosphere;  nor,  in  short,  that  it  will  not 
suffer  one  and  all  the  effects  of  the  passage  of  time,  beginning  from  the  very  moment  it 
leaves  the  manufacturer's  hands.  Common  sense  and  all  the  laws  of  nature  join  in  warrant- 
ing that  it  will  immediately  begin  so  to  suffer. 

"It  is  an  actual  fact  there  are  people  who,  because  the  purchase  is  to  them  an  important 
event,  claim  that  a  manufacturer's  warrant  against  defective  materials  means  that  the  lumber 
has  been  seasoned  in  such  a  way  that  it  cannot  swell  and  shrink.  Thes,e  people  are  honest; 
they  are  reasonable  In  their  intentions;  they  really  think  their  claims  are  just.  They  know 
by  experience  that  the  best  flannel  in  the  world  will  begin  to  shrink  at  its  first  washing,  and 
continue  to  shrink  for  all  time,  that  no  warrant  could  save  it,  and  that  its  shrinking  is  one  of 
the  proofs  that  it  is  flannel  and  'all. wool;'  but  not  having  had  experience  in  pianos  they  un- 
thinkingly expect  impossibilities  of  materials.  They  are,  in  a  sense,  unreasoning,  though 
not  meaning  to  be  unreasonable.  Now  it  is  as  impossible  to  prevent  the  rusting  of  steel  and 
iron,  the  swelling  of  seasoned  wood  in  damp  weather  as  the  shrinking  of  flannel  in  the  or- 
dinary process  of  washing  and  drying. 

"There  is  one  thing  of  which  people  rarely  think  when  they  assert  that  the  musical  instru- 
ment in  their  house  has  not  been  subjected  to  seveYe  and  sudden  changes  of  temperature. 
The  woman  who  owns  the  piano  will  say  that  the  room  where  the  piano  stands  is  always 
kept  at  a  uniformly  comfortable  temperature  day  and  night.  But  if  she  were  told  that  the 
room  was  dirty,  never  swept  and  never  aired,  she  would  be  indignant.  Her  neighbors  could 
testify  that  once  in  so  many  days — and  frequently  too — the  windows  of  that  room  are  thrown 
wide  open,  whether  summer  or  winter,  hot  or  cold,  and  that  there  is  sweeping,  dusting  and 
airing  going  on  for  some  time.  The  colder  the  weather  is,  in  all  probability  the  warmer 
the  house  from  artificial  heat  just  before  the  windows  were  opened.  Here  we  have  a  sudden 
change  that  5s  brought  about  every  few  days  in  a  well  kept  house.  The  delicate  child  will 
be  hustled  out  of  the  room  while  the  cold  draft  is  there,  but  the  delicate  musical  instrument 
is  left  to  stand  it,  and  very  properly  too,  for  it  is  not  worth  the  same  amount  of  care. 

"The  fact  is,  it  has  no  right  to  be  exalted  in  any  one's  mind  to  any  such  position  in  the 
cloudland  of  unreason  as  to  lead  to  the  expectation  that  it  isn't  going  to  show  the  natural 
effects  of  time,  of  wear,  and  what  is  sometimes  called  'the  inherent  cussedness  of  matter.' 

"Respectfully, 
"The  National  Piano  Manufacturers'  Association  of  America." 

We    are    not    responsible    for    any    bills    for    repairs    not    authorized    by    us    in    writing. 


The  Refining  Influence  of  Music 

The  study  of  ancient  history  shows  that  man  has  always  been  attracted  by  rhythmical 
or  musical  sound.  The  ancient  Greeks,  the  Phoenicians,  and  before  them  the  half  civilized 
inhabitants  of  the  world  had  their  music,  crude  music  it  is  true,  but  nevertheless  har- 
monious sounds,  that  had  an  influence  in  shaping  their  destiny. 

Today  in  the  jungles  of  Africa,  in  the  wilderness  of  Australia,  in  the  glare  of  the 
tropical  sun,  wherever  man  is  found  there  also  will  be  found  music  in  its  primitive  form. 
Music  has  always  been  a  potent  force  in  shaping  the  destinies  of  man.  While  it  is  true  that 
"Music  hath  charms  to  soothe  the  savage  breast,"  it  is  also  just  as  true  that  in  all  wars, 
whether  for  a  righteous 'or  unrighteous  cause,  man  has  been  stirred  by  music  to  desperate 
deeds.  As  man  has,  developed  in  civilization,  in. his  mode  of  living,  in  thought  and  in  intel- 
lect, so  music  has  also  developed ;  and  at  the  present  time  in  the  vast  majority  of  homes,  of 
all  the  forces  in  the  home  circle  that  serve  to  bind  the  members  of  the  home  circle  together 
in  closer  bonds  of  interest  and  affection,  music  is  the  most  forceful  and  potent. 

Music  uplifts  the  mind  to  higher  things.  With  many  a  grown  man  and  woman,  one 
of  the  fondest  recollections  is  the  memory  of  the  happy  evenings  at  home,  given  up  to  the 
enjoyment  of  music  of  varied  character.  Many  a  youth  about  to  take  his  first  downward 
step  has  been  turned  back  into  the  paths  of  rectitude  by  hearing  some  familiar  tune  closely 
associated  with  his  childhood,  with  his  mother  and  home. 

The  recollection  of  our  childhood  is  everlasting,  and  as  the  years  pass  by  the  mind  in- 
stinctively turns  to  the  days  of  youth  and  the  happy  hours  spent  in  the  old  home,  and  to 
those  homes  in  which  music  has  been  a  large  factor  in  character  building,  the  memory  of 
the  grown  man  and  woman  turns  with  unspeakable  tenderness,  and  as  we  grow  older  we 
realize  the  power  that  music  exerts  over  us  for  that  which  is  good  and  ennobling. 

Organ  music  has  a  certain  grandeur  that  is  lacking  in  other  instrumental  music.  It 
was  almost  entirely  the  music  of  our  forefathers,  and  the  organ  holds  a  place  in  the  hearts 
of  the  people  of  the  present  day  from  which  it  would  be  hard  to  dislodge  it.  A  good  organ 
played  with  taste  and  good  judgment  produces  music  that  stirs  the  emotions.  Many  or- 
ganists of  real  talent,  through  a  misunderstanding  of  the  value  of  the  stops  on  an  organ, 
while  playing  the  instrument  very  acceptably,  nevertheless  fail  to  secure  the  best  combina- 
tions of  reeds  on  the  instrument  and  hence  do  not  secure  the  most  desirable  quality  of  tone. 

In  the  following  pages  will  be  found  full  descriptions  of  all  the  Beckwith  Grand  Or- 
chestral Actions,  showing  the  different  sets  of  reeds  in  each  action,  the  number  of  reeds  in 
each  set,  the  number  and  the  names  of  the  stops  controlling  these  reeds,  the  value  of  the 
stops,  as  well  as  timely  suggestions  for  using  them  so  as  to  secure  the  best  results,  the  best 
combinations  of  sound,  the  most  satisfactory  results  in  organ  playing.  A  careful  reading 
of  these  suggestions  will  prove  instructive  and  valuable  to  you. 


SUGGESTIONS  FOR  THE  USE  OF  THE  BECKWITH  GRAND  ORCHESTRAL 
ACTIONS  A,  B,  C,  D,  E,  F  AND  G. 

GRAND  ORCHESTRAL  ACTION  A,  5  OCTAVES,  11  STOPS, 

Containing   122   extra   quality   double   riveted,  specially  treated  grand  orchestral  reeds, 
as  follows : 

Bass  Side.  Treble  Side. 

Diapason  Reeds 24  notes        Melodia  Reeds 37  notes 

Principal  Reeds 24  notes        Celeste  Reeds 37  notes 

We    are    not    responsible    for    any   bills    fo£   repairs   not   authorized   by   us   in   writing. 


These  reeds  produce  a  delightful  quality  of  tone  and  are  controlled  by  the  following 
stops : 

@©@0©@®000© 

For  your  complete  information  we  list  these  stops  with  their  tone  quality  and  pitch, 
as  follows : 

Bass  Coupler         A  mechanical  stop,  coupling  the  octaves  in  the  bass. 
Diapason  Round,  full  and  sonorous;  8-foot  pitch. 

Dulciana  Sweet  and  soothing.    Soft  stop  of  the  Diapason. 

Principal  Full,  soft  and  clear;  4-foot  pitch. 

Diapason  Forte     A  mechanical  stop  that  increases  the  volume  of  tone  in  the  treble. 
Vox  Humana        A  mechanical  stop  that  produces  a  wavy,  undulating  effect. 
Principal  Forte     A  mechanical  stop  that  increases  the  volume  of  tone  in  the  bass. 
Celeste  Beautifully  sympathetic  and  brilliant ;  8-foot  pitch. 

Cremona  Soft  and  soothing.    Soft  stop  of  the  Melodia. 

Melodia  Sweet  and  full ;  8-foot  pitch. 

Treble  Coupler      A  mechanical  stop,  coupling  the  octaves  in  the  treble. 

This  action  also  includes  two  knee  swells,  the  Grand  Organ  and  the  Swell  Organ. 

To  guide  you  to  a  proper  use  of  the  stops  in  this  beautiful  action  we  make  the  following 
suggestions : 

If  you  wish  to  play  very  soft  music,  draw  the  Dulciana  and  Cremona  stops,  These  are 
the  soft  stops  of  the  Diapason  and  Melodia  set  of  reeds  and  work  on  the  same  set  as  the 
Melodia  and  Diapason  stops,  as  explained  in  the  foregoing  list  of  stops.  To  build  up  the 
tone  and  make  it  still  louder,  draw  the  Diapason  and  Melodia  stops.  This  permits  the  full 
value  of  these  two  sets  of  reeds  to  sing  out  in  all  their  purity.  For  still  louder  work,  as  an 
accompaniment  to  voices,  etc.,  draw  the  Principal  and  Celeste.  This  makes  a  very  pleasing 
combination  with  much  body  of  tone.  To  build  the  tone  still  further,  draw  the  Treble 
Coupler  and  the  Bass  Coupler.  Then  you  have  a  ponderous  quality  of  tone,  and  to  get  the 
full  power  of  the  organ  without  using  the  knee  swells,  draw  the  Diapason  Forte  and  Prin- 
cipal Forte  stops.  Then  you  have  the  same  effect  that  you  can  secure  by  using  both  knee 
swells  at  once,  even  with  all  the  other  stops  closed. 

For  solo  work  use  the  Dulciana  and  Celeste  stops,  together  with  the  Vox  Humana,  but 
you  must,  be  sure  not  to  play  the  accompaniment  higher  than  the  first  F  below  middle  C, 
because  that  is  where  one  set  of  reeds  ends  and  the  other  begins. 

A  louder  effect  can  be  secured  with  the  Principal  stop  for  an  accompaniment  and  the 
Cremona  and  Celeste  for  the  melody,  either  with  or  without  the  Vox  Humana. 

The  use  of  the  Vox  Humana  is  a  matter  of  personal  taste  and  your  own  judgment  will 
tell  you  when  you  can  use  it  to  best  advantage.  The  right  knee  swell  is  used  for  increasing 
the  tone.  You  can  play  the  organ  very  softly  and  by  pressing  very  slowly  on  the  right  knee 
swell  you  can  swell  out  the  tone  just  as  in  a  great  pipe  organ. 

GRAND  ORCHESTRAL  ACTION  B,  5  OCTAVES,  15  STOPS, 

Containing  183  extra  quality,  double  riveted,  specially  treated  grand  orchestral  reeds, 
as  follows: 

Bass  Side.  Treble  Side. 

Diapason  Reeds 24  notes        Melodia  Reeds 37  notes 

Principal  Reeds 24  notes        Celeste  Reeds 37  notes 

Bourdon  Reeds 24  notes         Flute  Reeds 37  notes 

We   are    not    responsible    for    any   bill*    for    repairs   not   authorized   by   us   in   writing. 

14 


These  reeds  produce  a  delightful  quality  of  tone  and  are  all  controlled  by  the  following 
stops : 


For  your  complete  information  we  list  these  stops  with  their  tone  quality  and  pitch,  as 
follows : 

Bass  Coupler  A  mechanical  stop,  coupling  the  octaves  in  the  bass. 

Bourdon  Deep,  full  tone,  substrata  of  the  organ ;  16-foot  pitch. 

Diapason  Round,  full  and  sonorous ;  8-foot  pitch. 

Dulciana  Sweet  and  soothing.    Soft  stop  of  the  Diapason. 

Principal  Full,  soft  and  clear;  4-foot  pitch. 

Viola  Soft  and  sweet.      Soft  stop  of  the  Principal. 

Principal  Forte      A  mechanical  stop  that  increases  the  volume  of  tone  in  the  treble. 
Vox  Humana         A  mechanical  stop  that  produces  a  wavy,  undulating  effect. 
Diapason  Forte     A  mechanical  stop  that  increases  the  volume  of  tone  in  the  bass. 
Flute  Brilliant  and  clear  with  beautiful  flute  quality ;  8-foot  pitch. 

Cremona  Soft  and  soothing.    Soft  stop  of  the  Melodia. 

Melodia  Sweet  and  full ;  8-foot  pitch. 

Dulcet  Very  pleasing  and  of  soft  quality.    Soft  stop  of  the  Celeste. 

Celeste  Beautiful,  sympathetic  and  brilliant;  8-foot  pitch. 

Treble  Coupler       A  mechanical  stop  for  coupling  the  octaves  in  the  treble. 

This   action  also  includes   two  knee   swells,  the  Grand  Organ  and  the  Swell  Organ. 

To  guide  you  to  a  proper  use  of  the  stops  in  this  beautiful  action  we  make  the  following 
suggestions : 

If  you  wish  to  play  very  soft  music,  draw  the  Dulciana  and  Cremona  stops.  These 
are  the  soft  stops  of  the  Diapason  and  Melodia  set  of  reeds  and  work  on  the  same  sets  as 
the  Melodia  and  Diapason  stops,  as  explained  in  the  list  of  stops  above  given.  To  build  up 
the  tone  and  make  it  still  louder,  draw  the  Diapason  and  Melodia  stops.  This  permits  the 
full  value  of  these  two  sets  of  reeds  to  sing  out  in  all  their  purity.  For  still  louder  work, 
as  an  accompaniment  to  voices,  etc.,  draw  the  Principal  and  Celeste.  This  makes  a  very 
pleasing  combination  with  much  body  of  tone.  To  build'  the  tone  still  further,  draw  the 
Flute  stop  and  the  Bourdon.  The  tone  may  be  further  increased  by  drawing  the  Bass 
Coupler  and  Treble  Coupler,  and  the  Principal  Forte  and  Diapason  Forte  as  well.  This 
will  secure  the  full  power  of  the  organ,  which  may  also  be  secured  by  opening  both  knee 
swells  to  their  fullest  capacity.  For  solo  work  use  the  Dulciana  stop  and  Celeste  stop, 
together  with  the  Vox  Humana.  In  this  event  you  must  be  sure  not  to  play  the  accom- 
paniment higher  than  the  first  F  above  middle  C,  because  that  is  where  one  set  of  reeds  ends 
and  the  other  begins. 

Another  beautiful  and  louder  solo  effect  may  be  secured  by  using  the  Principal  stop 
for  the  accompaniment  with  the  Cremona  and  Celeste  for  the  melody,  with  or  without  the 
Vox  Humana. 

Another  effective  combination  is  obtained  by  drawing  the  Celeste  and  Flute  in  the  treble 
with  the  Principal  accompaniment  in  the  bass,  or  another  can  be  secured  by  drawing  the 
Melodia  and  Flute  in  the  treble  and  the  Viola  in  the  bass.  A  combination  of  the  Celeste  as 
a  solo  stop,  accompaniment  by  the  Dulciana  in  the  bass,  is  also  much  used,  and  with  the 
addition  of  the  Vox  Humana  makes  a  very  effective  combination,  provided  the  accompani- 
ment is  light. 

The  couplers  should  never  be  used  except  as  an  auxiliary  to  the  full  organ,  as  the 
practice  of  using  them  on  combinations  of  two   or  more   stops   is   not   correct  and   does   not 

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15 


secure  the  best  effects.  For  accompanying  four  to  eight  instruments  or  voices,  an  effective 
combination  is  secured  by  using  the  Celeste  and  Melodia  in  the  treble  with  the  Bourdon 
and  Diapason  in  the  bass.  •  This  may  be  reinforced  with  the  Flute  if  necessary,  although 
the  Flute,  being  essentially  a  solo  stop,  should  not  be  used  for  accompaniments  unless  it  is 
necessary  to  increase  the  volume.  The  use  of  the  Vox  Humana  is  a  matter  of  personal  taste 
and  your  own  judgment  will  tell  you  when  you  can  use  it  to  best  advantage.  The  right 
knee  swell  is  used  for  increasing  the  tone.  You  can  play  the  organ  very  softly  if  desired, 
and  by  pressing  very  slowly  on  the  right  knee  swell  you  can  swell  out  the  tone  just  as  the 
tone  is  swelled  out  in  the  great  pipe  organ. 

GRAND  ORCHESTRAL  ACTION  C,  5  OCTAVES,  17  STOPS, 

Containing  244  extra  quality,  double  riveted,   specially   treated   grand   orchestral   reeds, 
as  follows : 

Bass  Side.  Treble  Side. 

Diapason  Reeds 24  notes  Melodia  Reeds 37  notes 

Principal  Reeds 24  notes  Celeste  Reeds 37  notes 

Clarionet  Reeds 24  notes  Flute  Reeds 37  notes 

Bourdon   Reeds 24  notes  Cornet  Echo  Reeds 37  notes 

These  reeds  produce  a  delightful  quality  of  tone  and  are  all  controlled  by  the  following 
stops : 


For  your  complete  information  we  list  these  stops  with  their  tone  quality  and  pitch,  as 
follows : 

Bass  Coupler  A  mechanical  stop,  coupling  the  octaves  in  the  bass. 

Bourdon  Deep,  full  tone,  substrata  of  the  organ ;  lG-foot  pitch. 

Cornet  Echo  Beautiful,  soft  cornet  quality  of  tone ;  4-foot  pitch. 

Principal  Full,  soft  and  clear;  4-foot  pitch. 

Viola  Soft  and  sweet.    Soft  stop  of  the  Principal. 

Diapason  Round,  full  and  sonorous ;  8-foot  pitch. 

Dulciana  Sweet  and  soothing.    Soft  stop  of  the  Diapason. 

Principal  Forte      A  mechanical  stop  that  increases  the  volume  of  tone  in  the  treble. 
Vox  Humana         A  mechanical  stop  that  produces  a  wavy,  undulating  effect. 
Diapason  Forte     A  mechanical  stop  that  increases  the  volume  of  tone  in  the  bass. 
Cremona  Soft  and  soothing.     Soft  stop  of  the  Melodia. 

Melodia  Sweet  and  full;  8-foot  pitch. 

Cornet  Soft  and  sweet.     Soft  stop  of  the  Celeste. 

Celeste  Beautiful,  sympathetic  and  brilliant;  8-foot  pitch. 

Flute  Brilliant  with  beautiful  flute  quality;  4  foot  pitch. 

Clarionet  A  beautiful  solo  stop  of  strong  reedy  quality;  16-foot  pitch. 

Treble  Coupler      A  mechanical  stop  for  coupling  the  octaves  in  the  treble. 

This  action  also  includes  two  knee  swells,  the  Grand  Organ  and  the  Swell  Organ. 

To  guide  you  to  a  proper  use  of  the  stops  in  this  beautiful  action  we  make  the  folio  v- 
ing  suggestions : 

If  you  wish  to  play  very  soft  music,  draw  the  Dulciana  and  Cremona  stops.  These  are 
the  soft  stops  of  the  Diapason  and  Melodia  set  of  reeds  and  work  on  the  same  sets  as  the 
Melodia  and  Diapason  stops,  as  explained  in  the  list  of  stops  above  given.  To  build  up 
the  tone  and  make  it  still  louder,  draw  the  Diapason  and  Melodia  stops.  This  permits  the 
full  value  of  these  two  sets  of  reeds  to  sing  out  in  all  their  purity.     For  still  louder  work, 

We    are    not    responsible    for    any    bills    foe    repairs    not    authorised    by    US    in    writing. 


as  an  accompaniment  to  voices,  etc.,  draw  the  Principal  and  Celeste:  This  makes  a  very 
pleasing  combination  with  much  body  of  tone.  Now,  by  drawing  the  Flute  and  Bourdon 
stops,  the  volume  will  be  largely  increased.  To  build  up  the  tone  to  the  full  capacity  of 
the  organ,  draw  the  Clarionet  and  Cornet  Echo,  then  the  Bass  and  Treble  Coupler,  to  which 
may  be  added,  if  desired,  both  the  Principal  and  Diapason  Forte  stops.  As  the  Viola  is  a 
soft  stop  of  the  Principal,  and  the  Comet  is  a  soft  stop  of  the  Celeste  set  of  reeds,  the  above 
combination  will  secure  the  full  power  of  the  Grand  Organ,  just  as  it  may  be  secured  by 
opening  both  of  the  knee  swells  to  their  fullest  capacity. 

For  solo  work  use  the  Dulciana  stop  and  Celeste  stop,  together  with  the  Vox  Humana. 
You  must  be  sure  not  to  play  the  accompaniment  higher  than  the  first  F  below  middle  C, 
because  that  is  where  one  set  of  reeds  ends  and  the  other  begins. 

Another  beautiful  and  louder  solo  effect  may  be  secured  by  using  the  Principal  stop  for 
the  accompaniment  with  the  Cremona  and  Celeste  for  the  melody,  with  or  without  the  Vox 
Humana. 

Another  effective  combination  is  obtained  by  drawing  the  Celeste  and  Flute  in  the  treble 
with  the  Principal  for  accompaniment  in  the  bass;  or  another  can  be  secured  by  drawing 
the  Melodia  and  Flute  in  the  treble  and  the  Viola  in  the  bass.  A  combination  of  the 
Celeste  as  a  solo  stop,  accompanied  by  the  Dulciana  in  the  bass  is  also  much  used,  and  with 
the  addition  of  the  Vox  Humana  makes  a  very  effective  combination,  provided  the  accom- 
paniment is  light. 

For  ordinary  playing  sufficient  volume  may  be  secured  by  drawing  the  Diapason, 
Melodia,  Principal  and  Celeste.  These  stops  will  combine  the  two  solid  8-foot  sets  and 
give  considerable  volume. 

On  no  account  should  you  draw  the  Clarionet  when  playing  an  accompaniment  for  four 
or  eight  voices ;  but,  should  the  occasion  warrant,  the  combination  can  be  reinforced  with 
the  Flute. 

Other  charming  combinations  may  be  had  as  follows : 

A  combination  of  the  Clarionet  in  the  treble  with  the  Cornet  Echo  in  the  bass,  using 
care  not  to  play  the  accompaniment  above  first  F  below  middle  C.  This  may  be  rein- 
forced with  the  Flute  in  the  treble  and  Viola  in  the  bass  for  slightly  heavier  work. 

Another  combination  is  to  use  the  Cremona  and  the  Cornet  stops  with  the  Viola  accom- 
paniment. 

Do  not  overdo  the  use  of  the  Vox  Humana  stop ;  it  should  be  used  with  discrimination. 
Your  own  artistic  sense  will  prompt  you  when  to  use  it  to  advantage.  Never  use  the  Vox 
Humana  with  the  full  organ;  it  is  not  necessary.  It  is  only  a  valuable  accessory  in  com- 
bination with  solo  stops. 

The  Bourdon  bass  should  never  be  drawn  except  as  an  aid  to  the  full  organ,  provided 
the  knee  swell  is  not  used.  Being  of  a  16-foot  pitch  it  necessarily  would  produce  an  over- 
powering accompaniment  which  would  ruin  an  ordinary  combination.  The  organist  should 
pay  particular  attention  to  this,  as  many  otherwise  fine  effects  are  ruined  by  attempting  to 
use  this  stop  in  the  bass  against  the  lighter  stops  in  the  treble. 

Use  the  couplers  with  discrimination.  Unless  nearly  the  full  organ  is  used  it  is  liable 
to  produce  a  squeaky  result,  caused  by  the  fact  that  the  Treble  Coupler  couples  up  higher 
than  the  Bass  Coupler  does,  not  only  in  the  Beckwith  but  in  all  organs,  thus  making  the 
organ  top  heavy.  Many  organists  have  a  tendency  to  use  the  couplers  with  one  or  two 
stops  in  the  bass  and  treble.     This  is  a  mistake  and  should  be  avoided. 

A  further  fine  combination  is  the  Diapason,  Melodia,  Principal,  Celeste,  Cornet  Echo 
and  Flute,  adding  the  couplers  if  required  to  give  an  increased  volume  of  tone,  using  the 

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17 


right  knee  swell  when  necessary.  Such  a  combination  in  this  organ  will  carry  from  200  to 
300  voices  effectively  and  will  sustain  them  without  any  trouble  whatever. 

It  might  be  well  to  add  a  word  of  warning  and  to  repeat  that  the  Clarionet  stop  is 
essentially  a  solo  stop  and  should  not  be  used  in  ordinary  accompaniments  such  as  the  one 
above  mentioned. 

Another  combination  is  the  Celeste  and  Melodia,  Bourdon  and  Diapason.  According 
to  taste,  this  may  be  reinforced  with  the  Flute,  although  the  Flute,  being  essentially  a  s6lo 
st^op,  should  not  be  used  for  accompaniments  unless  it  is  desirable  to  increase  the  volume. 

Many  organists,  wfyen  they  sit  down  to  an  organ,  press  the  right  knee  swell  over  and 
keep  it  there  all  the  time.  By  so  doing  the  maximum  volume  of  the  organ  is  produced  and  it 
leaves  the  organist  nothing  to  help  out  with  if  he  wishes  to  secure  louder  effects. 

The  right  knee  swell  is  used  for  increasing  the  tone.  You  can  play  the  organ  very 
softly  if  desired,  and  by  pressing  very  slowly  on  the  right  knee  swell  you  can  build  up  the 
tone,  just  as  the  tone  is  swelled  out  in  a  great  pipe  organ.  The  left  knee  swell  brings  into 
use  every  set  of  reeds  in  the  organ  and  all  the  mechanical  stops  excepting  those  controlled 
by  the  right  knee  swell,  namely,  the  Principal  Forte  and  Diapason  Forte. 

GRAND  ORCHESTRAL  ACTION  D,  6  OCTAVES,  11  STOPS, 

Containing  146  extra  quality,  double  riveted,  specially  treated  grand  orchestral  reeds, 
as  follows: 

Bass  Side.  Treble  Side. 

Diapason  Reeds 24  notes        Melodia  Reeds 49  notes 

Principal  Reeds 24  notes        Celeste  Reeds 49  notes 

These  reeds  produce  a  delightful  quality  of  tone  and  are  all  controlled  by  the  following 

For  your  complete  information  we  list  these  stops  with  their  tone  quality  and  pitch,  as 
follows : 

Bass  Coupler         A  mechanical  stop,  coupling  the  octaves  in  the  bass. 
Diapason  Round,  full  and  sonorous ;  8-foot  pitch. 

Dulciana  Sweet  and  soothing.    Soft  stop  of  the  Diapason. 

Principal  Full,  soft  and  clear;  4-foot  pitch. 

Diapason  Forte      A  mechanical  stop  that  increases  the  volume  of  tone  in  the  bass. 
Vox  Humana         A  mechanical  stop  that  produces  a  wavy,  undulating  effect. 
Principal  Forte      A  mechanical  stop  that  increases  the  volume  of  tone  in  the  treble. 
Celeste  Beautifully  sympathetic  and  brilliant ;  8-foot  pitch. 

Cremona  Soft  and  soothing.    Soft  stop  of  the  Melodia. 

Melodia  Sweet  and  full ;  8-foot  pitch. 

Treble  Coupler      A  mechanical  stop  coupling  the  octaves  in  the  treble. 

This  action  also  includes  two  knee  swells,  the  Grand  Organ  and  the  Swell  Organ. 

To  guide  you  to  a  proper  use  of  the  stops  in  this  beautiful  action  we  would  ask  you  to 
read. the  suggestions  shown  on  page  14,  referring  to  Grand  Orchestral  Action  A,  5  octaves. 
This  is  the  same  action  identically,  except  that  it  has  two  extra  octaves  of  reeds  on  the 
treble  side,  but  all  controlled  by  the  same  stops.  Therefore,  by  following  the  suggestions 
for  using  the  stops  in  Grand  Orchestral  Action  A,  you  will  get  the  best  effects  possible  to 
secure  in  this  action  as  well,  for  it  has  the  same  sets  of  reeds  as  Grand  Orchestral  Action 
A.  It  has  identically  the  same  action,  is  built  the  same,  controlled  by  the  same  stops,  the 
only   difference  being  the   two  extra   octaves   of  reeds  on  the  right  hand   side,  a  total  of 

14fi  in  all 

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18 


GRAND  ORCHESTRAL  ACTION  E,  6  OCTAVES,  17  STOPS, 

Containing  292  extra  quality,  double  riveted,  specially  treated  grand  orchestral  reeds,  as 
follows : 

Bass  Side.  Treble  Side. 

Diapason  Reeds 24  notes  Melodia  Reeds 49  notes 

Principal  Reeds 24  notes  Celeste  Reeds 49  note* 

Clarionet  Reeds 24  notes  Flute  Reeds 49  notes 

Bourdon  Reeds 24  notes  Cornet  Reeds 49  notes 

These  reeds  produce  a  delightful  quality  of  tone  and  are  all  controlled  by  the  following 
stops : 

/""*\  /Z^\  /"~\  /*~N  /~"\  /""N  /^N  /T\  /^Tik  i 

citmul  (meum)  icormetI  fausnl  faun  J 

For  your  complete  information  we  list  these  stops  with  their  tone  quality  and  pitch,  as 
follows : 

Bass  Coupler  A  mechanical  stop,  coupling  the  octaves  in  the  bass. 

Bourdon  Deep,  full  tone,  substrata  of  the  organ ;  16-foot  pitch. 

Cornet  Echo  Beautiful,  soft  cornet  quality  of  tone;  2-foot  pitch. 

Principal  Full,  soft  and  clear;  4-foot  pitch. 

Viola  Soft  and  sweet.    Soft  stop  of  the  Principal. 

Diapason  Round,  full  and  sonorous;  8-foot  pitch. 

Dulciana  Sweet  and  soothing.    Soft  stop  of  the  Diapason. 

Principal  Forte  A  mechanical  stop  that  increases  the  volume  of  tone  in  the  treble. 

Vox  Humana  A  mechanical  stop  that  produces  a  wavy,  undulating  effect. 

Diapason  Forte  A  mechanical  stop  that  increases  the  volume  of  tone  in  the  bass. 

Cremona  Soft  and  soothing.    Soft  stop  of  the  Melodia. 

Melodia  Sweet  and  full;  8-foot  pitch. 

Cornet  Clear  and  brilliant  cornet  quality  of  tone.    Soft  stop  of  Celeste. 

Celeste  Beautiful,  sympathetic  and  brilliant;  8-foot  pitch. 

Flute  Brilliant  and  clear  with  beautiful  flute  quality;  4-foot  pitch. 

Clarionet  A  beautiful  solo  stop  of  strong  reedy  quality;  16-foot  pitch. 

Treble  Coupler  A  mechanical  stop  for  coupling  the  octaves  in  the  treble. 

This  action  also  includes  two  knee  swells,  the  Grand  Organ  and  the  Swell  Organ. 

To  guide  you  to  a  proper  use  of  the  stops  in  this  beautiful  action  we  would  ask  you  to 
read  the  suggestions  given  on  pages  16  and  17,  referring  to  Grand  Orchestral  Action  C,  5  oc- 
taves. This  is  the  same  action  identically,  except  that  it  has  four  extra  octaves  of  reeds  on  the 
treble  side,  but  all  controlled  by  the  same  stops.  Therefore,  by  following  the  suggestions 
for  using  the  stops  in  Grand  Orchestral  Action  C,  you  will  get  the  best  effects  possible  to 
secure  in  this  action  as  well,  for  it  has  the  same  sets  of  reeds  as  Grand  Orchestral  Action  C. 
It  has  identically  the  same  action,  is  built  the  same,  controlled  by  the  same  stops,  the  only 
difference  being  the  four  extra  octaves  of  reeds  on  the  right  hand  side,  a  total  of  292  in  all. 

GRAND  ORCHESTRAL  ACTION  F,  5  OCTAVES,  18  STOPS, 

Containing  257  extra  quality,  double  riveted,  specially  treated  grand  orchestral  reeds, 
as  follows : 

Bass  Side.  Treble  Side. 

Diapason    Reeds 24  notes  Melodia  Reeds 37  notes 

Principal  Reeds 24  notes  Celeste    Reeds 37  notes 

Clarionet  Reeds 24  notes  Flute  Reeds 37  notes 

Bourdon  Reeds 24  notes  Cornet  Echo  Reeds 37  notes 

Sub-Bass  Reeds 13  notes 

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19 


These  reeds  produce  a  delightful  quality  of  tone  and  are  all  controlled  by  the  following 
stops : 


For  your  complete  information  we  list  these  stops  with  their  tone  quality  and  pitch,  as 
follows : 

Bass  Coupler  A  mechanical  stop,  coupling  the  octaves  in  the  bass. 

Sub-Bass  Deep  and  majestic,  a  ponderous  pipe  organ  tone;  16-foot  pitch. 

Bourdon  Deep,  full  tone,  substrata  of  the  organ  :  16-foot  pitch. 

Cornet  Echo  Beautiful,  soft  cornet  quality  of  tone;  2 -foot -pitch. 

Principal  Full,  soft  and  clear;  4-foot  pitch. 

Viola  Soft  and  sweet.   Soft  stop  of  the  Principal. 

Diapason  Round,  full  and  sonorous ;  8-foot  pitch. 

Dulciana  Sweet  and  soothing.    Soft  stop  of  the  Diapason. 

Principal  Forte  A  mechanical  stop  that  increases  the  volume  of  tone  in  the  treble. 

Vox  Humana  A  mechanical  stop  that  produces  a  wavy,  undulating  effect. 

Diapason  Forte  A  mechanical  stop  that  increases  the  volume  of  tone  in  the  bass. 

Cremona  Soft  and  soothing.  Soft  stop  of  the  Melodia. 

Melodia  Sweet  and  full ;  8-foot  pitch. 

Cornet  Soft  and  sweet.   Soft  stop  of  the  Celeste. 

Celeste  Beautiful,  sympathetic  and  brilliant;  8-foot  pitch. 

Flute  Brilliant  with  beautiful  flute  quality ;  4  -foot  pitch. 

Clarionet  A  beautiful  solo  stop  of  strong  reedy  quality  ;  16-ioot  pitch 

Treble  Coupler  A  mechanical  stop  for  coupling  the  octaves  in  the  treble. 

This  action  also  includes  two  knee  swells,  the  Grand  Organ  and  the  Swell  Organ. 

To  guide  you  to  a  proper  use  of  the  stops  in  this  beautiful  action  we  make  the  following 
suggestions : 

If  you  wish  to  play  very  soft,  music,  draw  the  Dulciana  and  Cremona  stops.  These  are 
the  soft  stops  of  the  Diapason  and  Melodia  set  of  reeds  and  work  on  the  same  sets  as  the 
Melodia  and  Diapason  stops,  as  explained  in  the  list  of  stops  above  given.  To  build  up  the 
tone,  draw  the  Diapason  and  Melodia  stops.  This  permits  the  full  value  of  these  two  sets  of 
reeds  to  sing  out  in  all  their  purity.  For  still  louder  work,  as  an  accompaniment  to  voices,  etc.. 
draw  the  Principal  and  Celeste.  This  makes  a  very  pleasing  combination  with  much  body  of 
tone.  By  adding  the  Flute  and  Bourdon  stops,  the  volume  will  be  largely  increased.  To  build 
up  the  tone  to  the  full  capacity  of  the  organ,  draw  the  Clarionet  and  Cornet  Echo,  then  the 
Bass  and  Treble  Coupler,  to  which  may  be- added,  if  desired,  both  the  Principal  and  Diapason 
Forte  stops.  As  the  Viola  is  a  soft  stop  of  the  Principal,  and  the  Cornet  is  a  soft  stop  of  the 
Celeste  set  of  reeds,  the  above  combination  will  secure  the  full  power  of  the  Grand  Organ, 
just  as  it  may  be  secured  by  opening  both  of  the  knee  swells  to  their  fullest  capacity. 

For  solo  work  use  the  Dulciana  stop  and  Celeste  stop,  together  with  the  Vox  Humana. 
You  must  be  sure  not  to  play  the  accompaniment  higher  than  the  first  F  below  middle  C, 
because  that  is  where  one  set  of  reeds  ends  and  the  other  begins. 

Another  beautiful  solo  effect  may  be  secured  by  using  the  Principal  stop  for  the  accom- 
paniment with  the  Cremona  and  Celeste  for  the  melody,  with  or  without  the  Vox  Humana. 

Another  effective  combination  is  obtained  by  drawing  the  Celeste  and  Flute  in  the  treble 
with  the  Principal  for  accompaniment  in  the  bass;  or  another  can  be  secured  bv  drawing  the 
Melodiaand  Flute  in  the  treble  and  the  Viola  in  the  bass.  A  combination  oi  the  Celeste 
as  a  solo  stop,  accompanied  by  the  Dulciana  in  the  bass  i-  also  much  used,  and  witl 
addition  of  the  Vox  Humana  makes  a  verv  effective  combination,  provided  the  accompani- 
ment is   light. 

For  ordinary  playing  sufficient  volume  may  be  secured  by  drawing  fW  I  '  tpason, 
Melodia.    Principal   and   Celeste.     These    si  '    combine    the   two    solid    S-f     t    sets    and 

give  considerable  volume. 

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20 


Do  not  draw  the  Clarionet  when  playing  an  accompaniment  f6r  four  or  eight  voires; 
but,  should  the  occasion  warrant,  the  combination  can  be  reinforced  with  the  Flute. 

A  combination  of  the  Clarionet  in  the  treble  with  the  Cornet  Echo  in  the  bass,  using 
care  not  to  play  the  accompaniment  above  first  F  below  middle  C.  This  "may  be  rein- 
forced with  the  Flute  in  the  treble  and  Viola  in  the  bass  for  slightly  heavier  work. 

Another  combination  is  to  use  the  Cremona  and  the  Cornet  stops  with  the  Viola  accom- 
paniment. 

Do  not  overdo  the  use  of  the  Vox  Humana  stop ;  it  should  be  used  with  discrimination. 
Your  own  artistic  sense  will  prompt  you  when  to  use  it  to  advantage.  Never  use  the  Vox 
Humana  with  the  full  organ  {  it  is  not  necessary.  It  is  only  a  valuable  accessory  in  com- 
bination with  solo  stops. 

The  Bourdon  bass  should  never  be  drawn  except  as  an  aid  to  the  full  organ,  provided 
the  knee  swell  is  not  used.  Being  of  a  16-foot  pitch  it  necessarily  would  produce  an  over- 
powering accompaniment  which  would  ruin  an  ordinary  combination.  The  organist  should 
pay  particular  attention  to  this,  as  many  otherwise  fine  effects  are  ruined  by  attempting  to 
use  this  stop  in  the  bass  against  the  lighter  stops  in  the  treble. 

Use  the  couplers  with  discrimination.  Unless  nearly  the  full  organ  is  used  it  is  liable 
to  produce  a  squeaky  result,  caused  by  the  fact  that  the  Treble  Coupler  couples  up  higher 
than  the  Bass  Coupler  does,  not  only  in  the  Beckwith  but  in  all  organs,  thus  making  the 
organ  top  heavy.  Many  organists  have  a  tendency  to  use  the  couplers  with  one  or  two 
stops  in  the  bass  and  treble.    This  is  a  rnistake  and  should  be  avoided. 

A  further  fine'  combination  is  the  Diapason,  Melodia,  Principal,  Celeste,  Cornet  Echo 
and  Flute,  adding  the  couplers  if  required  to  give  an  increased  volume  of  tone,  using  the 
right  knee  swell  when  necessary.  Such  a  combination  in  this  organ  will  carry  from  400  to 
600  voices  effectively  and  will  sustain  them  without  any  trouble  whatever. 

It  might  be  well  to  add  ,a  word  of  warning  and  to  repeat  that  the  Clarionet  stop  is 
essentially  a  solo  stop  and  should  not  be  used  in  ordinary  accompaniments, 

Another  combination  is  the  Celeste  and  Melodia,  Bourdon  and  Diapason.  According 
to  taste,  this  may  be  reinforced  with  the  Flute,  although  the  Flute  being  essentially  a  solo 
stop,  should  not  be  used  for  accompaniments  unless  it  is  desirable  to  increase  the  volume. 

Many  organists,  when  they  sit  down  to  an  organ,  press  the  right  knee  swell  over  ano 
keep  it  there  all  the  time.  By  so  doing  the  maximum  volume  of  the  organ  is  produced  and 
it  leaves  the  organist  nothing  to  secure  louder  effects. 

The  right  knee  swell  is  used  for  increasing  th^  tone.  You  can  play  the  organ  very 
softly  if  desired,  and  by  pressing  very  slowly  on  the  right  knee  swell  you.  can  build  up  the 
tone,  just  as  the  tone  is  swelled  out  in  a  great  pipe  organ.  The  left  knee  swell  brings  into 
use  every  set  of  reeds  in  the  organ  and  all  the  mechanical  stops  excepting  the  Sub-Bass 
reeds  and  those  controlled  by  the  right  knee  swell,  namely,  the  Principal  Forte  and  Diapason 
Forte. 

The  Sub-Bass  in  this  organ  is  extremely  powerful  and  heavy,  too  much  so  to  be  used 
for  anything  except  with  the  full  organ,  and  is  primarily  meant  for  that  particular  class  of 
work.  By  the  full  organ  is  meant  the  full  organ  with  all  the  stops  drawn  out  except  the 
two  couplers  and  the  two  Forte  stops.  It  may  also  be  used  as  an  accompaniment  to  con- 
gregational1 singing  when  the  full  organ  is  in  nearly  every  instance  in  use,  and  you  will  find 
that  this  ponderous  set  of  reeds  gives  wonderful  foundation  to  the  singing. 

GRAND  ORCHESTRAL  ACTION  G,  6  OCTAVES,  18  STOPS, 

Containing  305  extra  quality,  double  riveted,  specially  treated  grand  orchestral  reeds, 
as  follows : 

Bass  Side.  Treble  Side. 

Diapson  Reeds 24  notes  Melodia  Reeds 49  notes 

Principal  Reeds 24  notes  Celeste    Reeds 49  notes 

Clarionet  Reeds 24  notes  Flute  Reeds 49  notes 

Bourdon  Reeds. 24  notes  Cornet    Reeds 49  notes 

Sub-Bass  Reeds 13  notes 

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These  reeds  produce  a  delightful  quality  of  tone  and  are  all  controlled  by  the  follpw- 
ing  stops : 

"""\  /C5v  /"~N  S~\  /^"*\  /*"*\  /£Z\  SZ\  /CZ^  i 

«wl  bam)  (coimtrJ  fman)  (rum  J 

For  your  complete  information  we  list  these  stops  with  their  tone  quality  and  pitch, 
as  follows : 

Bass  Coupler  A  mechanical  stop,  coupling  the  octaves  in  the.  bass. 

Sub-Bass  Deep  and  majestic,  a  ponderous  pipe  organ  tone;  16-foot  pitch. 

Bourdon  Deep,  full  tone,  substrata  of  the  organ ;  16-foot  pitch. 

Cornet  Echo  Beautiful,  soft  cornet  quality  of  tone;  2-foot' pitch. 

Principal  Full,  soft  and  clear;  4-foot  pitch. 

Viola  Soft  and  sweet.    Soft  stop  of  the  Principal. 

Diapason  Round,  full  and  sonorous ;  8-foot  pitch. 

Dulciana  Sweet  and  soothing.     Soft  stop  of  the  Diapason. 

Principal   Forte  A  mechanical  stop  that  increases  the  volume  of  tone  in  the  treble. 

Vox  Humana  A  mechanical  stop  that  produces  a  wavy,  undulating  effect. 

Diapason  Forte  A  mechanical  stop  that  increases  the  volume  of  tone  in  the  bass. 

Cremona  Soft  and  soothing.    Soft  stop  of  the  Melodia. 

Melodia  Sweet  and  full ;  8-foot  pitch. 

Cornet  Clear  and  brilliant  cornet  quality  of  toiiv.     Soft  stop  of  Celeste. 

Celeste  Beautiful,  sympathetic  and  brilliant;  8-foot  pitch. 

Flute  Brilliant  and  clear  with  beautiful  flute  quality;  4-foot  pitch. 

Clarionet  A  beautiful  solo  stop  of  strong  reedy  quality ;  16-toot  pitch. 

Treble  Coupler  A  mechanical  stop  for  coupling  the  octaves  in  the  treble. 

This  action  also  includes  two  knee  swells,  the  Grand  Organ  and  the  Swell  Organ. 

To  guide  you  to  a  proper  use  of  the  stops  in  this  beautiful  action  we  would  ask  you  to 
read  the  suggestions  given  on  pages  19,  20  and  21,  referring  to  Grand  Orchestral  Action  F, 
5  octaves.  This  is  the  same  action  identically,  except  that  it  has  four  extra  octaves  of  reeds 
on  the  treble  side,  but  all  controlled  by  the  same  stops.  Therefore,  by  following  the  sugges- 
tions for  using  the  stops  in  Grand  Orchestral  Action  F,  you  will  get  the  best  effects  possible 
to  secure  in  this  action  as  well,  for  it  has  the  same  sets  of  reeds  as  Grand  Orchestral  Action 
F.  It  has  identically  the  same  action,  is  built  the  same,  controlled  by  the  same  stops,  the 
only  difference  being  the  four  extra'  octaves  of  reeds  on  the  right  hand  side,  a  total  of  305 
in  all. 


A— Valve  Chnt 
B— Ucert   Cell 
C— Mute. 
D— Sonudlng   : 
E — Reservoir. 


racker  Pin  Chimber. 


THE  BECKWITH  SUB-BASS. 

The  mechanism  of  the  Sub-Bass  used  in  the  Beck- 
with  Organ  is  a  distinctive  Beckwith  feature.  A  very 
large  reed  is  used,  and  instead  of  placing  it  inside  of 
the  reservoir  the  reed  is  placed  outside.  This  construc- 
tion, together  with  the  improved  Sub-Bass  action,  the 
delicately  adjusted  valves  and  the'  manner  of  placing 
the  tracker  pin  so  as  to  overcome  all  lost  motion,  is  a 
very  valuable  improvement  in  organ  construction. 
This  Sub-Bass  set  of  reeds  is  only  furnished  in  Grand 
Orchestral  Actions  F  and  G  with  which  the  Cathedral 
Pipe  Tone  Organ  is  fitted. 


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1   ' 


K 


ss.-usmz  <&■    s^zb**' 


-SKA 


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4~ 


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UNIVERSITY  OF  CALIFORNIA 

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STAMPED  BELOW. 


OCT  4    1977 


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Series  9482 


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